Embroidery Stitches.—Described and Illustrated.[2]

Embroidery Stitches.—Described and Illustrated.[2]

By L. Barton Wilson.

The stitches used in modern embroidery are not productions of this age. They belong to the art of to-day through adaptation. They have a value because of their antiquity far above any value which new inventions in this line could possess. Their application has been tried without limit and the extent of expression and delineation through them is well known. The science of embroidery is established; its methods are perfected. The art is rich in its heritage.

With the revival of needlework has naturally come a demand for silks of such quality and durability as that possessed by the wonderful threads of centuries ago, which are found in a perfect state of preservation in many examples of old embroidery, and which seem even to grow more mellow and beautiful in color with age. What modern science has done to meet this demand is shown by the brilliancy and beauty of shading, and fastness of color, which such silks as the "Corticelli" are known to possess. This ought to be among the chief inspirations to best efforts in this line of decorative art.

The form of embroidery which is most truly artistic, and at the same time scientific, is that known as "Opus Plumarium"[3] or "Feather Stitch." (The so-called "seamstress feather stitch" should not be confounded with this.) The exceedingly beautiful 16th century examples of the embroidery still in existence prove what is its durability and how adequate the method. The "long and short" stitch, which is the constituent of the work, is widely used on linens. When this stitch is correctly laid the effect is very beautiful, and, like all primary things, its beauty lies in its simplicity and perfect adaptability. It is proposed to describe and illustrate the long and short stitch first, in order that in the light of a clear understanding of this first principle, the opus plumarium (which is considered the most difficult embroidery, but which is really an advanced use of this simple element) may become less formidable to amateurs.

Feather stitch should never be attempted on an unframed fabric. A certain degree of excellence may be attained in embroidery by working such fabrics as linen in the hand, but perfect stitch direction and proper tension cannot be secured unless the fabric is stretched.

Embroidery stitches hold a certain definite relation to each other and may therefore be classified into groups. A glance at the classification will give one a clear idea of the fundamental principles of the Art. A little study of it will furnish the key to the forms and styles of the embroideries of the different centuries and countries and so enable one fully to appreciate collections of antiques which are invaluable to the learner.

Classification of Embroidery Stitches.

I. Long and Short Stitches. a. Simple Long and Short Stitch.

b. Feather Stitch.

c. Overlap Stitch.

d. Tapestry Stitch.

II. Satin Stitches. a. Simple Satin Stitch.

b. French Laid Work.

III. Couching Stitches. a. Simple Couching Stitch.

b. Twisted Stitch.

c. Brick Couching Stitch.

d. Diaper Couching (Over Satin Stitch).

e. Other Elaborate Couching Stitches.

IV. Outline Stitches. a. Kensington Outline Stitch.

b. Bulgarian Stitch.

c. Split Stitch.

d. Stem Stitch.

e. Twisted Outline Stitch.

V. Wound Stitches. a. Simple French Knot.

b. French Knot, combined with Stem.

c. Bullion Stitch.

VI. Buttonhole Stitches. a. Simple Buttonhole Stitch.

b. Blanket Stitch.

c. Honeycomb Stitch.

d. Double Buttonhole Stitch.

e. Ladder Stitch.

f. Cat, Brier, or Seamstress Feather Stitch.

VII. Chain Stitches. a. Common Chain Stitch.

b. Rope Stitch.

c. Single Reverse Chain Stitch.

d. Double Reverse Chain Stitch.

e. Double Chain Stitch.

f. Cable Stitch.

g. Beading Stitch.

h. Bird's Eye Stitch.

VIII. Darning Stitches. a. Simple Darning Stitch.

b. Brick Darning Stitch.

c. Seed Stitch.

d. Queen Anne Stitch.

IX. Fancy Stitches. a. Herringbone Stitch.

b. Ismit Stitch.

c. Janina Stitch.

d. Border Stitch.

The above table will be found of great value to beginners, enabling them easily to master the scientific or theoretical as well as the practical part of this article.

"Long and short" stitch as commonly used on linens is a border work. That is, the forms of the design are not filled in entirely; the stitches are carried round the outline and such space as they do not cover within the form is allowed to remain in a low relief. This is known as "half work," sometimes as "half solid Kensington," while the solid "opus plumarium" is often called "Kensington." While it is true that the Kensington school revived this ancient embroidery it is doubtful if this is sufficient reason why it should give to it the name. The history of art will be better preserved if we adhere to the old terms. The effect of the contrasted surfaces, through the half work, of the ground material and the embroidery, is very pleasing, and such a method is more suitable on linen than solid embroidery. It is less conventional and therefore is in harmony with the fabric. On the other hand solid embroidery is rich in itself and should be used to decorate rich fabrics. This is not an invariable rule but its restrictions are reasonable. Such exceptions as these may be noted,—tiny forms such as the fronds of maiden hair fern may be made solid to advantage, and the Bulgarian embroidery, fully described elsewhere in this book, is heavy and complete. Conversely, good effects are sometimes obtained with heavy silks in half work on rich fabrics. The artistic principle involved in the "half work" is suggestiveness. If the design is good to start with, a great deal of spirit may be put into it by the simple border embroidery.

I. "Long and Short" Stitches.

Fig. I a. Simple Long and Short Stitch.

A. Simple Long and Short Stitch.—This stitch may be done in the hand, but as already intimated it can be perfectly done only in a frame or hoop, which should be rested on the table edge and held by a weight. The material should be stretched straight with the woof and warp. The stitches are then laid by using both hands, one below and the other above the frame, to send the needle up and down perpendicularly. To make the stitch, bring the needle up on the outline of the design and send it down within the form. When the fabric is held in the hand the needle takes the stitch over and down on the outline and up within the form. Let the first stitch be a long one, one-quarter of an inch to an inch in length in proportion to the size of the form. The next stitch should be but two-thirds as long and should lie parallel with the first or closer to it within the form, if it is a narrowing one, than on the outline; or vice versa, if it is a form increasing in width. The contour of the design must decide the stitch direction. The third stitch should be long, followed by a short one, and so on alternating long and short. We are sometimes told that these stitches should be "irregular." This is both true and it is not. The long stitches should certainly not be all of one length and the short all of another. In this they should vary, but they should be absolutely regular in that they should be even on the surface without piling or yet having spaces between them, and they should form a perfect unbroken surface and the edge should exactly coincide with the outline. This, then, is the "long and short" stitch, and it may be considered complete in itself as far as it goes. It is the first stage of solid embroidery or "opus plumarium." See Fig. I a.

Fig. I b. Feather Stitch.

B. Feather Stitch.—The next step is to lay another row of stitches over these, differing from them in that they shall be long and short on both edges. The long stitch should commence just below the outline and should end further within the form than any of the first row. It should be taken in exactly the same direction as the first row and over them. The next stitch should be started below the first, something less than a third of its length, just beside it, and should reach the same distance below the end of the first. The third should be similar to the first, and so on. It is obvious that every other stitch of this second row is the long one at its start and the short one at its finish. The second row is the same as the first, except that it is long and short on both edges. This is not "irregularity," but absolute regularity. The more regular and the more accurate the alternating is, the smoother the surface will be. This second row should lap well over the first. It should indeed cover two-thirds of it if the colors are to blend instead of appear as rows. This is the secret, or rather, the real principle of shading. It will not do to economize material and expect a rich result. This is likely to be the fault of American embroidery. The preceding rows of stitches must be solid under the succeeding ones. There may be as many rows as are necessary to cover the form, and these should all lap deep over each other so that the under rows show only because of the difference in length of the stitches of the upper edge of the over rows. In this way one shade passes into the next as tones in painting, perfectly clear in themselves yet, because they are distinct, making a luminous and unbroken whole. If the stitches are not placed according to such a method the effect will be—again as in painting when the colors are muddled—broken and harsh and expressionless. By this means shades that differ greatly can be blended and the whole is brought into relief by the raising of one row over the other. The lower ends of the stitches of the last row may adapt themselves in terminating to the form. See Fig. I b.

Fig. I c.

Overlap Stitch.

C. Overlap Stitch.—This is the "long and short" on a curved line, not form. The first stitch is taken from the end of the line along its length, the next stitch is taken just below the start of the first on the line, over to the other side of the first and to a point just above the finish of the first, thus lapping. Continue these stitches long and short. This is the way to work round the circumference of a circle. Curved tendrils are very effective embroidered in the overlap stitch. See Fig. I c.

Fig. I d. Tapestry Stitch.

D. Tapestry Stitch.—A stitch similar to feather stitch except that its lines are all in one direction. The stitches do not slant to accommodate themselves to a form but are all straight and in all cases parallel and terminate abruptly as they come against the outline of the form whether they are within it or are used to fill the background. This is essentially a filling stitch and is the most beautiful way to embroider backgrounds. In composition with opus plumarium it is wonderfully rich. There are many superb examples of this work in the old opus anglicanam, where it was largely used to represent drapery, and, in its most perfect application, faces. In a word it is parallel "opus plumarium." Its rows should be well lapped. See Fig. I d. The light shade in the engraving is intended simply to show the system of stitches; there are three rows, each worked in the same color, completely covering the linen and presenting an absolutely smooth surface.

Fig. II a. Simple Satin Stitch.

The above four stitches are based upon the "long and short" element.

II. Satin Stitches.

A. Simple Satin Stitch.—The next stitch in importance is the "Satin Stitch," and it has various applications. This stitch forms an unbroken surface not only in effect but in reality. The stitches are taken parallel and from side to side of the outline or over the space they are to cover. On coarse material and with one of the heavier silks, such as Corticelli Roman Floss or Rope Silk, it is possible to make them quite long, but when fine material is used they must be short to lie well. Embroidery in this stitch is more or less mechanical and does not allow of shading. It is used principally in narrow bars, which are often first raised by stitches laid at right angles to the direction the satin stitch is to take. We show two very good examples of satin stitch.

Fig. II a.

Simple Satin Stitch.

B. French Laid Work. The French white or laid embroidery is an especial application of the satin stitch. It is the method of initialing and is done in the Corticelli EE Twisted Embroidery Silk and Corticelli Etching Silk with best effect. It is also the form of work for covering cartoons in church embroidery. The stitches may be taken from side to side at any angle so that they are kept parallel to each other.

III. Couching Stitches.

Fig. III a.

Simple Couching Stitch.

A. Simple Couching Stitch.—As methods of work, appliqué and couching are of great importance and possibility and through them a large variety of stitches are employed. Designs cut out of fabrics are applied to ground fabrics by couching. The simple stitch taken at right angles over cords is the one most commonly used, as shown in Fig. III a. This and other couching may be used independently or on the edges of applied forms.

Fig. III b.

Twisted Stitch.

B. Twisted Stitch.—In this stitch one cord is twisted around another and the over stitch is taken through the ground at right angles to the direction of the outline. See Fig. III b. Two silk cords may be carried over outlines, one each side of a gold thread.

Fig. III c. Brick Couching Stitch.

C. Brick Couching Stitch. Lay rows of cords close to each other and couch them down with perpendicular stitches, alternating in each row with the spaces between them. This is very effective work. See Fig. III c.

D. Diaper Couching Stitch. This work is done over satin stitch. Many examples of it are to be found in the rich antique diapered work. This embroidery has many uses in modern work. (See article on Bulgarian Embroidery.) Circular forms within conventional flowers may be covered with satin stitches as long as the forms require, then cross-barred with stitches placed at a decided angle from the satin work. This set of cross-bar stitches should be recrossed with another at the opposite angle, thus forming little squares over the first work, which should be couched down at their intersections. This diapering over satin embroidery may be done in a variety of designs and color combinations. Original ways will suggest themselves to the worker. See Fig. III d.

Fig. III d.

Diaper Couching Stitch.

E. Elaborate Couching Stitches.—There are a large number of elaborate couching stitches usually executed in gold and purse twist.

The old work is rich in examples of couching over a system of foundation cords which raise the covering layer of cords or silk threads. The "Basket" and the "Frill Basket" are the most beautiful of these stitches. Corticelli Filo Silk should generally be used for the over stitch and the heavier silks, such as Corticelli Roman Floss and Rope Silk, should be the threads laid on the surface. When it is desired to have the over stitches invisible yet strong the Filo Silk may be split and waxed.

IV. Outline Stitches.

Fig. IV a.

Kensington Outline Stitch.

A. Kensington Outline Stitch.—Outline stitches, especially the one known as "Kensington outline," form a very prominent part in the work on linens. When the lines of designs are close very satisfactory results are obtained by outlining alone. This embroidery is very serviceable, and a housekeeper needs an ample supply of the simple linens to insure freshness in the dining room and about the toilet tables. Linens outlined in all white are very dainty, and all blue or delft green monochromes are pretty for summer. The outline is a hand embroidery stitch, so that the work is very convenient. The point of care-taking lies in the fact that the outline must be accurately followed. The stitch itself is a reverse backstitch. The work should proceed from left to right. The needle should be brought up in the outline, drawn out the full length of the thread, then sent down in advance and carried out on the outline again a short distance in front of the point at which it was put in. Again the needle should be sent through in advance on the line, thus forming an unbroken, partly double line on the face and a series of short backstitches on the wrong side of the fabric. The thread must be kept always on one side of the needle. It is more convenient to some workers to throw it back. See Fig. IV a.

Fig. IV b.

Bulgarian Stitch.

B. Bulgarian Stitch.—Two or more lines of outline stitch laid parallel and close together is known as "Bulgarian Stitch." See Fig. IV b.

Fig. IV c. Split Stitch.

C. Split Stitch.—An outline backstitch with the needle brought up through the previous stitch instead of beside it. See Fig. IV c.

Fig. IV d. Stem Stitch.

D. Stem Stitch.—This is also but a modification of the outline. The backstitches are taken so as to slant slightly in towards the interior of the form, thus giving a little width to the outline. It is necessary to take the stitches a little closer than the cut would indicate in order to avoid spaces between them. This is a very satisfactory way of working stems when it is desired that they should have more width than the simple outline would give. See Fig. IV d.

Fig. IV e. Twisted Outline Stitch.

E. Twisted Outline Stitch.—This stitch should be worked in a frame or hoop, and it will be found a most effective way of working ribbed stems. A double thread of Filo is best adapted to the work. The thread should be brought up on the outline its full length above the framed fabric and the needle turned in the fingers until the thread is well twisted, then holding the twisted thread over the fore-finger of the left hand send the needle down a quarter of an inch in advance on the line; bring it up again close beside the stitch thus laid, about a third back on its length, then send it down again in advance. The width of the stem should be covered with parallel lines of these stitches. One line is not satisfactory, but two or more lie well together. The stitches must be taken uniformly all on one side of the lines. They may be much longer than those of the simple outline. See Fig. IV e.

V. Wound Stitches.

A. Simple French Knot.—A very useful little stitch, especially for flower centers, where it may be used to cover small spaces or may represent the anthers. The thread is brought out its full length and twisted round the needle near the point where it leaves the fabric, the needle point is then inserted perpendicular to the ground, the twist drawn against it and the needle pushed through to the eye. Before drawing it through, the middle finger of the right hand should be placed on the twist to insure the knot's lying firm on the surface. Turn the thread around the needle but once for a fine knot or several times for a coarse one. The simple French Knot is shown in Fig. V b. by the single knot at the left of the illustration.

Fig. V b. French Knot, Combined with Stem.

B. French Knot, Combined with Stem.—The French Knot with tiny stern is made as one stitch. Instead of placing the knot at the point where the thread leaves the ground material, it is placed at a desired distance with the thread laid in a simple stitch on the ground surface. This is a very satisfactory way to work flower centers. The stamen, both filament and anther, is thus one stitch. See Fig. V b.

Fig. V c. Bullion Stitch.

C. Bullion Stitch.—Made by twisting the thread on the needle. When a coil is so formed the needle and thread are drawn through it; it is then placed on the surface and the needle sent down through the ground material to fasten it. This is a Turkish stitch and in that embroidery is usually done in gold passing. See Fig. V c.

VI. Buttonhole Stitches.

Fig. VI a.

Simple Buttonhole Stitch.

A. Simple Buttonhole Stitch.—The Buttonhole Stitch is capable of more elaborate work on its own account than is generally supposed. Aside from the buttonhole scallop shown by Fig. VI a. which is now so popular as a finish on linens and for which the Corticelli Persian Floss and Corticelli EE Twisted Embroidery Silk are so suitable, it has many possibilities in large work. It is also a hand stitch and surfaces can be covered rapidly by its use, two points most acceptable to amateurs. Short stitches laid close carry better color effects than long ones far apart, although the color of the background, which shows through the long stitches, has a large influence upon the effect. Deep stitches in the buttonhole work must have a certain proportionate space between them, for stitches more than a quarter of an inch deep do not lie well close together. The line on which the loop is to fall should be held toward one. The needle should be put in on the opposite line of the width of the space to be covered and brought out directly below on the lower line. The thread should lie in front of the needle and under it, so that as it is drawn through and the stitch laid the knot will lie formed. The work is done from left to right and the stitches should be kept perpendicular. See Fig. VI a.

Fig. VI b. Blanket Stitch.

B. Blanket Stitch.—A wide-apart loose buttonhole stitch used principally on flannels. Corticelli Etching Silk or Corticelli EE Twisted Embroidery Silk is best suited for this work. See Fig. VI b.

Fig. VI c. Honeycomb Stitch.

C. Honeycomb Stitch.—An adaptation of buttonhole stitch, and is very nice for large work such as portieres. The first row of stitches is laid like the blanket buttonhole, quite loose. The next is fastened to the fabric only at the beginning and end of the row; between these points the loop stitches are caught into the loops of the first row, and so on with the succeeding rows, fastening through only where the rows terminate against the outline. It is necessary to keep the stitches very loose, as each row has a tendency to narrow. When the form is covered draw the last row in place and fasten it by a row of buttonhole stitches taken through the fabric like the first. It is possible to work back and forth. It is well to reverse the needle and send it through the loops eye end first, to avoid splitting the silk. The same form of stitch may also be taken through the material. See Fig. VI c.

Fig. VI d.

Double Buttonhole Stitch.

D. Double Buttonhole Stitch.—A very pretty way of treating narrow bars from one-half to three-quarters of an inch wide is to use the double buttonhole stitch. Bring the needle up in the center of the width of the bar the full length of the thread and take the regular buttonhole stitch from this point over the upper line to a point a little above the start; draw this stitch through. The point of the needle in this case was directed down. Now put in the needle on the lower line of the bar and send it up to a point a little below the start and a trifle to the right; keeping the thread to the right. Draw the stitch through and proceed to make another from above like the first, always keeping the thread to the right to form the loop. The effect of this is that of a satin stitch on the top and bottom of the bar with a braided line through the center. It is very effective and pretty. The braid may be made wider by making the stitches shorter. See Fig. VI d.

Fig. VI e.

Ladder Stitch.

E. Ladder Stitch.—Many of the lace stitches are buttonhole. The "Ladder" for instance is two rows of buttonhole stitch a short distance apart and parallel, connected by regular overcast stitches. The ground material is cut away between the rounds or overcast lines. The honiton lace is applied by buttonhole stitch, using Corticelli Lace Embroidery Silk. Fig. VI e. shows the so-called ladder.

Fig. VI f. Cat or Brier Stitch.

F. Cat, Brier, Coral, or Seamstress Feather Stitch.—An alternate buttonhole loop first to the right and then to the left. The loops may be alternated singly or in pairs, or in threes or fours. It is almost too well known to need explanation. See Fig. VI f. (Also see Sofa Pillow Design No. 508.)

VII. Chain Stitches.

The chain stitches are closely related to the buttonhole stitches.

Fig. VII a.

Common Chain Stitch.

A. Common Chain Stitch.—The common chain stitch may be said to be the buttonhole stitch carried down a line by its length instead of from left to right proceeding by its width. The consecutive stitches are started from within the lower end of each preceding loop; a line of link-like loop stitches will thus be formed. See Fig. VII a.

Fig. VII b. Rope Stitch.

B. Rope Stitch.—This is a modification of the common chain stitch. It is commenced the same as the chain but the successive stitches are taken by sending the needle down back of the last-loop instead of through it. The loop is formed as in the chain. This makes a very pretty ridged line when done in heavy silks such as Corticelli Roman Floss or Rope Silk. See Fig. VII b.

Fig. VII c. Single Reverse Chain Stitch.

C. Single Reverse Chain Stitch.—To outline with the Reverse Chain Stitch it is necessary first to lay a simple stitch on the surface; bring the needle up below the end of this, at a distance of the length of a stitch from it; now pass the needle, eye first, behind the first stitch, not through the fabric; then draw through the length of the thread, insert the point of the needle close beside the point where it came up, and bring it out below again, the distance of the length of the preceding stitch; again pass the needle back of the chain loop, just laid, as it was in the first place passed back of the simple stitch; continue these laid loops along the line to be covered. See Fig. VII c.

Fig. VII d. Double Reverse Chain Stitch.

D. Double Reverse Chain Stitch.—To form the double reverse chain proceed in the same way to the point of the first "single reverse chain stitch," but instead of sending the needle down the distance of a stitch below, insert it the same but bring it out just to the right or at about the point where the thread leaves the fabric. Draw this tiny stitch through and pass the needle again back of the simple stitch, thus forming a double loop. Send it down again on the point to the left of the start and out the length of a stitch below on the outline. The next stitches are taken in the same way, passing the needle back of the loops as in the first case back of the simple stitch. See Fig. VII d.

Fig. VII e. Double Chain Stitch.

E. Double Chain Stitch.—Formed by laying two rows of simple chain parallel to each other and catching them together by a regular over stitch passed through the inner edges of each of the two rows alternately. See Fig. VII e.

Fig. VII f. Cable Stitch.

F. Cable Stitch.—Similar to the rope stitch. The difference lies in sending the needle down a little below the point where the thread leaves the ground material at the base of the loop instead of back or within the loop. This forms a chain of open links. See Fig. VII f.

Fig. VII g. Beading Stitch.

G. Beading Stitch.—A chain stitch taken horizontally over the thread as it is carried along an outline, thus forming a knot at regular spaces on a seemingly placed line of the silk. See Fig. VII g.

Fig. VII h. Bird's Eye Stitch.

H. Bird's Eye Stitch.—Formed like the chain loops but grouped about a center. Small radiating devices can be very successfully embroidered in this way; the effect of small petals as in daisies is very good. The loop is fastened by a tiny stitch at its base and the needle again brought out at the center. See Fig. VII h.

The "Tambour Stitch" is the chain executed with a small hook, which is pushed up and down through the fabric. It is a Turkish embroidery and very like machine work. There are various other modifications of these chain stitches.

VIII. Darning Stitches.

Darning is a very satisfactory sort of embroidery. In this work the greater part of the silk is laid on the right side of the material so that it carries large masses of color. Darning is generally considered a filling embroidery and is often used in background work. Backgrounds darned around a design may be made very artistic.

Fig. VIII a. Simple Darning Stitch.

A. Simple Darning Stitch.—The simple darning stitch is a short stitch on the back and a long one on the face "running" on a straight line, the second row alternating with the first in the positions of the long and short stitches, and lying parallel to it. Care and practice are necessary to make these rows of equal tension. They should keep their straight direction and terminate where they meet the outline. There are ways of accommodating them to the outline when they are used within the design. See Fig. VIII a.

Fig. VIII b. Brick Darning Stitch.

B. Brick Darning Stitch.—If it is desirable to increase the color effect the first series of rows may be crossed at right angles by a similar series. This is known as the "Brick Darning Stitch." The straight bars should be laid by darning one way and back, alternately. By a little planning very pretty coloring may be gained through relating the background shade to the imposed work. See Fig. VIII b.

C. Seed Stitch.—This may be considered a darning stitch, having however the short stitches on the surface and the long ones on the back. This is largely used in combination with satin stitch for lettering. (See Designs Nos. 612 A, B, D, E, and F.)

Fig. VIII d.

Queen Anne Stitch.

D. Queen Anne Stitch.—Another form of darning is the "Queen Anne Stitch." In this the silk is not sewed through the fabric but first laid in long parallel lines from side to side of the outline, then crossed at right angles by weaving in threads alternately. This is rather mechanical and not so artistic as the first method, though we may see very curious examples of it in the old English embroideries. See Fig. VIII d.

IX. Fancy Stitches.

There are many other so-called "fancy stitches." Among them the pretty "Herringbone" and its modifications are worthy of note.

Fig. IX a. Herringbone Stitch.

A. Herringbone Stitch.—A short stitch taken from right to left, and as it proceeds the thread is drawn to the right and the work is carried in this direction. It is essentially a cross stitch. See Fig. IX a.

Fig. IX b. Ismit Stitch.

B. Ismit Stitch.—A slight difference in the plan of taking a stitch changes the entire effect. This is obvious in the "Ismit Stitch." It is taken exactly as the herringbone and the radical difference in the result is due simply to making the lines meet at a point. See Fig. IX b. When the lines are very long they may be fastened by couching stitches at the intersections.

Fig. IX c. Janina Stitch.

C. Janina Stitch.—A very satisfactory way of filling in the petals of conventional flowers or flower forms. It may be used with really beautiful effect on the canvas materials with Corticelli Roman Floss or Rope Silk. It is also a good method for filling bars on borders. While it is not heavy unless worked close, it carries a decided color effect. It is one of the prettiest of the conventional stitches. See Fig. IX c.

Fig. IX d. Border Stitch.

D. Border Stitch.—This stitch is not unlike herringbone. It is however carried perpendicularly, while herringbone proceeds horizontally. The side or fastening stitches of the border work are very short. See Fig. IX d.

"Doily" or "Doiley."

The Inland Printer, a journal devoted to the printing and publishing trades, and a magazine generally considered authority on questions of orthography gives the proper spelling as "doily." The following explains itself.

Question.—Kindly give us the correct spelling of the word variously printed as "doily" and "doiley," and also the plural of the same. There has been considerable discussion in regard to the proper way to spell this word, and we will leave you to render the final verdict.

Answer.—Our final verdict in this case is simply that of all the dictionaries. Every one of them enters the word as "doily," and they are right in doing so, because, though the name from which it is derived was variously spelled as "Doily" and "Doyley," and maybe otherwise also, it is well to select one spelling—presumably the prevalent one—for the common name. At any rate, this is what the lexicographers have done, and no good reason to dissent from their choice is apparent. The plural of the form chosen is "doilies."